[Classicist till the end Indian Express sadanand menon 22 Jul 2009: Gangubai Hanagal, 96, who breathed her last on Tuesday, represented the purest aspect of classicism...
She also made the out-of-the-box suggestion in her book that it is really not possible to produce good music or learn new things when one is disturbed or unhappy. She has written that the whole concept of getting lost in music and forgetting the world around is merely a myth created by musicians.]
[Why is it all, the labour and the din, The transient joys, the timeless sea of tears, The longing and the hoping and the cry, The battle and the victory and the fall, The aimless journey that can never pause, The waking toil, the incoherent sleep, Song, shouts and weeping, wisdom and idle words, The laughter of men, the irony of the gods? Where leads the march, whither the pilgrimage? Who keeps the map of the route or planned each stage? Savitri, Pages: 644 – 45]
[If we practice Sri Aurobindo’s yoga of poetry, it can be very similar to a daily or weekly visit to the Matrimandir chamber. You can take a Canto of Savitri, or one or two short poems dealing with a certain spiritual consciousness, and immerse yourself in those poems for half an hour or an hour and you are transported into a completely different vibrational range. It can be a practice like going to the Matrimandir occasionally to become transparent. I have no doubt that Sri Aurobindo intended that. His poems are attempts to capture a certain vibration that carries a consciousness of a reality and he has concentrated on communicating these various planes and types of experience in the poems. So, we will know at a certain moment that we have received that intention. Then you can go back to it and gradually familiarize yourself with that way of seeing. And it is very specific. THE POETRY OF SRI AUROBINDO: MANTRA, METRICS AND MEANING
BY ROD HEMSELL 1:03 PM]
Considering the predominantly existential nature of the poem, immersing ecstatically in Savitri sounds to be another myth. [TNM]